Structure and the Movies . . .

Okay. So you're in a movie and you have an actual part. With lines. And more than 6 scenes. God, you are good!

As I've mentioned before, the shooting out of sequence issue can present problems for the actor. It's essential that the character arc, scene to scene, be absolutely clear in the actors' mind. If your 4th scene is shot before you've done 3, but after you've done 5 . . .well you begin to see the problem.

So, you've done 5 and you have to be sure that what you do in 4 will match up with what's already been shot.
On a modern set, you'll have the opportunity to watch what's already been laid down on a TV monitor, so matching is somewhat easier than it was in the days when we all scurried into an overheated room to watch the dailies. Anybody older than 40 knows what I mean.

Now we've shot 3 and just finished 5 - which leaves 1,2 and 6. So . .I think you might have a notion as to how you deal with the problem. Head'em out, match 'em up.

A more pressing problem with film acting, perhaps, is the built-in rehearsal issue. For stage, the actor usually has sufficient time to map the work over a span of several weeks with daily feedback from the director. If you're lucky enough to work with a director who walks, talks and communicates well with actors, this input helps with the careful building of structure. But in film:
A: The director expects you to do all the work.
B: The director doesn't know how to talk to actors-other than to say: faster, softer, cuter.
C: The director is only interested in "the shot" and "special effects." "That's why we've got an acting coach on set, fer chrissake!"
D: Rehearsal consisted of 2 table reads and a bit of staging while the grips were setting up for the next shot.
E: Everything else under the damned sun!

So in effect, ladies and gents, you're on your own. Which is why the care with which you build the structure of your performance, the skill with which you generate your moment before and the natural, emotionally vibrant delivery of the text are what make you movie friendly. In theatre, the actor has more sense of immediate communication actor to actor and the benefit of an ongoing process. In film, the actor must be able to work without a lot of outside input and learn to work fast.

Which is where COACHING rears its handsome head!